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[[File:Paolo Agostino by James Caldwall.jpg|thumb|Paolo Agostino, engraving by [[James Caldwall]].]]
[[File:Paolo Agostino by James Caldwall.jpg|thumb|Paolo Agostino, engraving by [[James Caldwall]].]]
'''Paolo Agostino''' (or '''Agostini'''; '''Augustinus''' in [[Latin]]; c. 1583{{ndash}} 1629) was an [[Italy|Italian]] [[composer]] and [[organ (music)|organist]] of the early [[Baroque music|Baroque]] era. He was born at [[Vallerano]], near [[Viterbo]]. He studied under [[Giovanni Bernardino Nanino]], according to the dedication in the third and fourth books of his [[mass (music)|masses]]. Subsequently, he married Nanini's daughter.{{sfn|Chisholm|1911}}
'''Paolo Agostino''' (or '''Agostini'''; '''Augustinus''' in [[Latin]]; c. 1583{{ndash}} 1629) was an [[Italy|Italian]] [[composer]] and [[organ (music)|organist]] of the early [[Baroque music|Baroque]] era. He was born perhaps at [[Vallerano]], near [[Viterbo]]. He studied under [[Giovanni Bernardino Nanino]], according to the dedication in the third and fourth books of his [[mass (music)|masses]]. Subsequently, he married Nanini's daughter.{{sfn|Chisholm|1911}}


He held a series of positions as organist and ''maestro di cappella'' ([[choirmaster]]) between 1607 and 1626, when he succeeded [[Vincenzo Ugolini]] as conductor of the [[pope]]'s [[orchestra]] in [[St. Peter's Basilica]].{{citation needed|date=May 2011}}
He held a series of positions as organist and ''maestro di cappella'' ([[choirmaster]]) between 1607 and 1626, when he succeeded [[Vincenzo Ugolini]] as ''maestro'' of the [[Cappella Giulia]]'s [[choir]] in [[St. Peter's Basilica]].


All of his surviving works are sacred music, and most are written in the ''[[prima pratica]]'', the conservative [[polyphony|polyphonic]] style of the late 16th century, although some of his [[motet]]s use some of the new [[concertato]] style. He was a highly sophisticated [[counterpoint|contrapuntist]], often using strict [[canon (music)|canon]]ic techniques; in addition, he used colorful sonorities, changes of [[meter (music)|meter]] between sections, and colorful [[chromaticism]], showing an acquaintanceship with contemporary secular practice as well as the work of the [[Venetian School (music)|Venetian School]]. An ''[[Agnus Dei]]'' for eight voices is especially admired.{{citation needed|date=May 2011}}
All of his surviving works are sacred music, and most are written in the ''[[prima pratica]]'', the conservative [[polyphony|polyphonic]] style of the late 16th century, although some of his [[motet]]s use some of the new [[concertato]] style. He was a highly sophisticated [[counterpoint|contrapuntist]], often using strict [[canon (music)|canon]]ic techniques; in addition, he used colorful sonorities, changes of [[meter (music)|meter]] between sections, and colorful [[chromaticism]], showing an acquaintanceship with contemporary secular practice as well as the work of the [[Venetian School (music)|Venetian School]]. An ''[[Agnus Dei]]'' for eight voices is especially admired.{{citation needed|date=May 2011}}

Revision as of 15:30, 1 December 2011

Paolo Agostino, engraving by James Caldwall.

Paolo Agostino (or Agostini; Augustinus in Latin; c. 1583– 1629) was an Italian composer and organist of the early Baroque era. He was born perhaps at Vallerano, near Viterbo. He studied under Giovanni Bernardino Nanino, according to the dedication in the third and fourth books of his masses. Subsequently, he married Nanini's daughter.[1]

He held a series of positions as organist and maestro di cappella (choirmaster) between 1607 and 1626, when he succeeded Vincenzo Ugolini as maestro of the Cappella Giulia's choir in St. Peter's Basilica.

All of his surviving works are sacred music, and most are written in the prima pratica, the conservative polyphonic style of the late 16th century, although some of his motets use some of the new concertato style. He was a highly sophisticated contrapuntist, often using strict canonic techniques; in addition, he used colorful sonorities, changes of meter between sections, and colorful chromaticism, showing an acquaintanceship with contemporary secular practice as well as the work of the Venetian School. An Agnus Dei for eight voices is especially admired.[citation needed]

Notes

References

  • Chisholm, Hugh, ed. (1911). "Agostino, Paolo" . Encyclopædia Britannica (11th ed.). Cambridge University Press.

External links

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